Take
of Tour of the
2000 Sculpture on the Grounds

You are
invited to take a self-guided tour of six sculptures displayed on the
grounds of Rockvilles Civic Center Park located at Baltimore Road
and Edmonston Drive. The artwork is part of the 2000 Sculpture on the
Grounds display, a temporary exhibition on loan to the City of Rockville.
The exhibit represents various styles and media and will be on display
through October, 2000.

Programs
for self-guided tours, which include artists statements, biographical
information, and site locations, are available on the first floor of
Glenview Mansion at Rockville Civic Center Park.

This
temporary exhibit is part of the Art In Public Places Program and is
sponsored by the Recreation and Parks Department.

John Mors
Arlington, Va.

Artist's
StatementMaking
sculpture based on house forms is a natural approach to art for me.
Although I have never worked as an architect, my training in the profession
defines the way that I structure knowledge and perceive the world. Producing
art based on architecture combines a love of materials with my knowledge
of structural engineering, anthropology, and art.

#3

House, Boisa
Island, New Guinea
1990

The
motif for the sculpture is the form of housing found on Boisa Island,
a small island situated off the coast of New Guinea, which receives
fresh water from the Sepik River as it flows into the Bismark Sea.

The emphasis for this sculpture is engineering structure. The cantilever
of the roof is one third of the span, this being the most efficient.
The columns and main roof beams form a portal frame.

#4

Keyhole
Window - Positive Form
Keyhole Window - Negative Form
1992

In
a small-scale culture, a child knows a mask is actually the spirit that
it represents. At each stage of initiation into manhood, progressively
more knowledge is gained about the mask. However, it never becomes purely
a mask, not even to its maker.

My sculptures derive from this concept of levels of knowledge. The person
aware of the subject matter (often identified by the title) may think
that he knows the objects significance. However, as always, it
is only the maker of the mask who knows the truth or otherwise of the
piece. For it is he who knows what is revealed and what is withheld.

The Anasazi Details sculptures are derived from this concept
of levels of knowledge. Although to the uninitiated, they appear as
abstract forms; they are in fact, derived from Anasazi architecture,
or more correctly, details of architectural forms.